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Two Discs from Fores's Moving Panorama. Phenakistiscope Discs

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Two Discs from Fores's Moving Panorama. Phenakistiscope Discs Frames per second / Pre-cinema, Cinema, Video / Illustrated catalogue at www.paperbooks.ca/26 01 Fores, Samuel William Two discs from Fores’s moving panorama. London: S. W. Fores, 41 Piccadily, 1833. Two separate discs; with vibrantly-coloured lithographic images on circular card-stock (with diameters of 23 cm.). Both discs featuring two-tier narratives; the first, with festive subject of music and drinking/dancing (with 10 images and 10 apertures), the second featuring a chap in Tam o' shanter, jumping over a ball and performing a jig (with 12 images and 12 apertures). £ 350 each (w/ modern facsimile handle available for additional £ 120) Being some of the earliest pre-cinema devices—most often attributed either to either Joseph Plateau of Belgium or the Austrian Stampfer, circa 1832—phenakistiscopes (sometimes called fantascopes) functioned as indirect media, requiring a mirror through which to view the rotating discs, with the discrete illustrations activated into a singular animation through the interruption-pattern produced by the set of punched apertures. The early discs offered here were issued from the Piccadily premises of Samuel William Fores (1761-1838)—not long after Ackermann first introduced the format into London. Fores had already become prolific in the publishing and marketing of caricatures, and was here trying to leverage his expertise for the newest form of popular entertainment, with his Fores’s moving panorama. 02 Anonymous Phenakistiscope discs. [Germany?], circa 1840s. Four engraved card discs (diameters avg. 18 cm.); hand-coloured engravings. With apertures opened to disc edges. £ 220 each With images somewhat more crude than those of Fores, the narratives for these phenakistiscopes include: a blacksmith at work (10 images in single tier, with 11 apertures), a double-tiered festive theme with cello player and ethnic dancer (10 images and apertures), two young men playing leap-frog (9 images and apertures; single-tier), and a rather surreal double-tiered narrative (11 apertures and images) with a wheelbarrow-pushing man accompanied by flying bird, with the disc-interior animating an ominous face, rotating both ways on its vertical axis (almost disapprovingly / Fatefully). 03 (Choreutoscope) [The dancing skeleton] and [The sai]lor’s hornpipe. [United States], circa 1880. Two separate rotating choreutoscopes. Wooden projection slides (10 x 28 x 2 cm.), with aperture of 2.5 cm. diameter revealing rotating mica disc to interior. To verso: brass pulley with turned-wooden handle, which activates the internal shutter mechanism while advancing the disc, featuring a succession of 6 hand-painted images. Label to one of the slides still partially present. Original components, save for pulley strings; skeleton string a candidate for refurbishment. £ 2,000 for skeleton / £ 1800 for sailor Invented around 1866 by the English physician Lionel Smith Beale, the choreutoscope was one of the first pre-cinematic technologies to leverage the magic of the shutter; animating discrete-yet-sequential images through mechanical blinks. The present American iteration employs a rotating disc, rather than Beale's advancing horizontal slide, which allowed for a virtually unlimited duration for projection. These two animations feature a dancing skeleton, who removes his head, and a jig-dancing sailor, in vibrant colours. Tenderbooks / www.tenderbooks.co.uk / 6 Cecil Court / Tues – Sat, 11-7 Frames per second / Pre-cinema, Cinema, Video / Illustrated catalogue at www.paperbooks.ca/26 04 (Zoetrope) German toy zoetrope. Germany: Dep. G. C. & Co. N., circa 1900-1910. Tin drum, stained cherry, with 13 cm. diameter, attached to wooden base (with total height of 17 cm.). Drum constructed with 12 vertical apertures. Accompanied by 5 double-sided animated strips (44 cm. long) that fit the cylindrical drum, printed in stark black on tan; with German imprint to lower margins. £ 450 A later model of the long-popular zoetrope device (invented circa 1833), which adapted the effective illusion of the phenakistiscope discs into cylindrical form, thus abandoning the necessity for an intermediary mirror. In a common trope for the period, one of the animated subjects here removes his head. 05 (Zoetrope) L’animateur. France, circa 1870. Metal drum (with diameter of 14 cm.), with four vertical apertures, secured on wooden base. Total height of 11 cm. Accompanied by 7 strips, illustrated to both sides, with some soiling and foxing. Each of the strips consists of two pasted sheets (5 x 13 cm.), folded into X-shapes; positioned into drum so that the four edges fit within the distances between the four apertures; creating four animation cells. One of the strips (involving cats) having separated. £ 2000 The four-aperture "Animator" device operates as a variant of the zoetrope, innovating-upon the cylindrical design to develop a set of animation chambers or cells (quite literally). Typical subject matter here includes athletics (dog jumping through hoop, gymnast performing a cartwheel), labour (men working on machines, bricklayers at work), and relatively-dark tales (i.e. a devil placing a child into an oven). 06 (Reynaud, Emile) Le praxinoscope: jouet d’optique produisant l’illusion du mouvement. Paris: ER, before 1889. Turned wooden base supporting revolving metal drum (20 cm., diameter). Interior of drum features set of 12 angled mirrors (restored), with original ER label affixed to top edge, with abrasion to right margin (affecting some text). Original two-part candle-stand with reproduction lampshade (full height, 35 cm.). Includes 30 chromolithographic strips (5.5 x 64 cm.) of 12 frames each, with tear to strip no. 4 (at ninth frame), taped tear to no. 6, and some surface wear to a handful of others. Accompanied by separate checklist of the three series of strips, of ten subjects each; the three series being here complete. £ 1800 The praxinoscope was invented by Emile Reynaud (i.e. ER) in 1877, as an improvement on the zoetrope; the interaction between the shaded-candle and the mirrored interior of the drum ensured that the device could be effective in low-light situations. The present example includes a complete set of thirty strips, including subjects such as girl feeding fish, monkey playing cello, boy with dog jumping through hoop, plate spinner, foot juggler, proto-psychedelic abstractions, and surreal horse jumpers (who manage to overlap the discrete frames). Tenderbooks / www.tenderbooks.co.uk / 6 Cecil Court / Tues – Sat, 11-7 Frames per second / Pre-cinema, Cinema, Video / Illustrated catalogue at www.paperbooks.ca/26 07 (Reynaud, Emile) Praxinoscope-théatre. Paris: ER, before 1889. Original wooden box (25 x 26 x 12 cm., when closed; 33 cm. high when opened), supporting wooden base for metal drum (20 cm. diameter). Smaller interior drum features set of 12 angled mirrors (original), with original printed ER label affixed to top; preserved in excellent condition. Original two-part brass candle-stand supports original chromolithographic lampshade of six panels, illustrated with images from the various strips; this specimen scored by a candle-burn to one panel, as testament to the scarcity of these original shades. The proscenium to the theatre is illustrated via five different “decors;” the first default scene (of a bourgeois interior) constituted by two illustrated plates already affixed to box, with the other four constructed from a combination of five additional illustrated cards, which are inserted into the proscenium in perpendicular fashion, and two novelty items (a curved metallic “snow-hill” and a mirrored pond, the latter here provided in facsimile). The theatre apparatus is completed with sliding peep-show board (23 cm. square), with black pebbled cloth to verso (facing praxinoscope) and chromolithographic label affixed to recto, which features illustrated instructions about set-up and lighting (see below). Above this label, a glass-plate viewer, through which the proscenium is reflected, surrounded by illustrated theatre motif. This theatre is accompanied by 10 animated praxinoscope strips (5.5 x 66 cm.), with sequential colour images printed on glossy black paper stock; well-preserved. £ 2800 One year after his invention of the praxinoscope, Reynaud soon improved upon the immersive dimension of the experience, by embedding the rotating animation within an theatre apparatus. Opening-up the self- contained box, the viewer would peer through a peep-hole to view the rotating praxinoscope through an intermediary glass plate; an optical strategy that would transport the animated image into a variable & thematically-appropriate scene, with the glass reflecting the interchangeable proscenium illustrations that were positioned in perpendicular fashion into the slots fastened to the underside of the box’s lid. The present device includes five such scenes: a bourgeois interior, a circus, a countryside, a snow scene (with a lower metallic plate that was curved to afford a “sliding" animation), and a pond (simulated by a mirrored bottom). 08 Lumiere / Gaumont Kinora Casler-Lumiere. Paris, circa 1900. Polished wooden viewer (18 x 20 x 14 cm., with an additional 8 cm. of height for visor), with hand-crank to front and latched door to verso, obscuring internal clock-work mechanism (fully functioning). Movable light-well at side, with stable crack to mirror. Engraved plaque to top edge of viewer: "Licence de la Compagnie françasie du Mutoscope & Biographe. L. Gaumont & Cie. No. 324." Accompanied by five photographic kinora reels, each with moulded card- stock lids featuring manuscript titles and metal spools with engraved serial number; being: (1) Serie 192, no. 16 [group of men playing parachute]; (2) serie 767, no. 23, "Jeune d'enfants sur la plage"; (3) serie 846, no. 24 [Andalucian dancers]; (4) serie 872, no. 25 [Staged duel]; and (5) serie 1094, no. 55 "Cyclistes." The metal springs to the reels have deteriorated from rust (one altogether absent); eligible for refurbishment. Nonetheless, a lovely functioning model. £ 7500 When Lumière patented the Kinora viewing machine in France in September 1896 (followed by Great Britain in October), he was already piggy-backing on the patented Mutoscope of Herman Claser in the United States.
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